Diana Soviero chats with Roger Pines about six decades of performing, four decades of teaching, and how she’s handing the tradition off to the next generation.
The Monkey King at San Francisco Opera combines spectacle and sentiment.
In his new production that opens at San Francisco Opera this weekend, Matthew Ozawa is creating a Parsifal for the cancel culture age.
The 25th anniversary revival of Dead Man Walking at San Francisco Opera is most moving in its quietest moments
Carmen Paddock and Mr. Portafiori aren’t getting the hype behind Ivo van Hove, Krzysztof Warlikowski, and Calitxo Bieito
Michael Anthonio crunches the numbers on San Francisco Opera’s recent seasons and goes straight to the top to General Director Matthew Shilvock for a look at where SF Opera has been and where it’s headed
Doing my research for these “thoughts” ahead of a starry revival in London that opened yesterday, I came across the following review for the Opening Night of the 1962-63 Season.
It has been a great season for prolific Bay Area composer Jake Heggie.
One got a sense that the Met and the maestro directed most of the rehearsal and preparation toward the opening night premiere of the Heggie opus
“None of that sentimental crap, okay?”
On June 16, San Francisco Opera concluded their excellent Centennial Season with a heartfelt 100th Anniversary Concert, featuring a starry cast, three conductors (including current and former Music Directors) and the SF Opera Orchestra and Chorus.
The second act of Dream of the Red Chamber reached the apex and provided the audience with soul-stirring fulfillment.
It struck me that Jamie Barton’s voice is not dissimilar to a Henry Moore sculpture: grand and monumental but never brash or ostentatious; eccentric and offbeat but always graceful and tastefully molded.
Ryan McKinny’s Don is subtler, slyer, smoother, with a sharp wit and sense of dark humor that gives added dimension to the role.
Sunday’s matinee at Lyric Opera of Chicago was my first experience of Heggie and McNally’s 2000 opera Dead Man Walking. It certainly won’t be my last.
“Who are you? Who do you want to be?” The search for one’s identity is explored in American composer Jake Heggie and librettist Gene Scheer’s brand new opera If I Were You.
La Cieca regrets to say it’s time to step back from the gratuitous display of bare skin in opera.
Mariachi bands travel the world, make appearances in Hollywood, and moonlight on Linda Ronstadt albums.
In September, Finnish National Opera gave the world premiere of Höstsonaten (Autumn Sonata), based on Mr. Bergman’s 1978 study of a troubled mother/daughter relationship.
The tendency to rank—to create subjective lists of best or greatest, or to organize things in ascending or descending order—is a human compulsion.
Washington National Opera continued a focus on recent works this season with Terence Blanchard and Michael Cristofer’s 2013 opera Champion on the life of boxer Emile Griffith.
The opera is relentlessly obvious, a work that repeatedly turns to tired tropes and canned characters to fill up its nearly three hour run time.
It’s hard to come up with any sensible reason to dislike Joyce DiDonato.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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